Once Alfred Hitchcock defined his film Rear Window (Hitchcock, 1954), as the story of a man who cannot move and looks through a window, what he sees and how he reacts to it (Truffaut, 1986). For this reason, Hitchcock constructs the character of the protagonist of the film, Jeff (James Steward), not only by using cinematographic devices but also through Jeff´s interpretation of what he sees related his own life, showing a dichotomy between what he looks at and what he lives.
At the beginning of the film, a camera movement reveals Jeff´s profession and why he is immobilized in a wheel-chair. He is a photographer, interested in looking at other´s lives; consequently, he could be described as a voyeur. Across a very limited space- the courtyard of the neighbourhood, he spends his time looking through the window in order to avoid boredom. He looks at different windows,
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Jeff is not interested in what happens in his life, and as a result, he cannot look at the interior of his apartment even when Lisa talks to him directly he only thinks in what is happening outside the window, thus, the window represents the border between the two worlds (real and unreal.). The editing of the clip with different shots of Lisa and Jeff contributes to emphasize their misunderstanding in their interests, although Lisa attempts to attract his looking to this side of the window in many ways. Previously, by “selling” him the conformity of the America´s fifties (Deleyto, 2009), in the clip, offering herself as a sexual object, and when she fails, she turns into a partner in his detective’s activity. But only when he looks at her on the other side of the window, she will become interesting for